catherine lutes

Does anyone have any thoughts or experience with UniQ optics lenses? To potentially be used on mysterium x

hey I hate to do this but we shot a competition spot for doritos using the phantom and little did I realize its more of an internet marketing competition then it is a competition for who did the best commercial. Anywho I thought I would share it on here and hopefully get some hits as well as share my experience with the camera. this was shot at 300fps. We tested higher speeds but found it was just too slow for the action that was happening. It took me a while to convince everyone we would need ALOT of light, especially because I wanted to keep the people soft and the background lit and not give that phantom look of everything falling off into darkness. But in the end we got large tungsten units and I think it all worked great. take a peek - if you like it spread it, tweet it, facebook it blah blah blah http://bit.ly/aMOXGP thanks!

I believe that 'Hunger' was shot on 2-perf. Seems like the only way they could get that extremely long conversation in one shot.

ahhh - sorry didnt realize i posted it in the film stocks forum - my screw up. I dont post too often and have no idea how to switch it over - thanks for your responses anyway! The monitor was not a CRT monitor, but you are right in that the director was watching it on a small lcd screen when he viewed the tape. I guess my biggest question is how do I know whether it will be like that when projected in a cinema or not?

Hey all I have been working on a short film shot on RED and I left the transfer of the final colour corrected version with the post house and the director. i then received a call from the director saying that while he was watching the HDSR transferred master there was some noisy-ness and movement in some of the dark areas that was not there on the HD monitor we were doing the correction on. The film is going to be screening at film festivals shortly and I would love it to look the same way it does in that colour correct suite. I did not get a chance to see the HDSR master but it was made from a 4:2:2 version of the footage, so they have gone back and done one from 4:4:4 but the director says it is still there, but not nearly as bad. He says that there are a couple of fades from black that are quite noisy. what is happening here? and how do I get it to look like it does in the suite? Its going to be screened on big screens and I cant stand the thought of compression, or buzzing images. We need to deliver on HDCam, digibeta and hd as well as sd for broadcast. any thoughts or insight would be appreciated catherine lutes http://www.catherinelutes.com/2009.mov

that has been the one stipulation - that we cant have them changing anything during projection and the rest of the films will all be projected 1:85 on film. not sure if its because they will be spliced together or not, but its sort of the one rule that has been laid down am i missing something in thinking I can shoot 3 perf 35 (or s35) and then after DI finish on standard 35 letterboxed for projection?

Hey all venturing into a short film shoot this week that I want to shoot 2:35 for the ratio Anamorphic is not an option so we are shooting 3perf 35mm and I was planning on a 2:35 ground glass, leaving some room to play around with the frame if need be in the DI. The film is being shown with other films that will all be 1:85 and there is some concern about this short being projected differently - which i am trying to argue it will not be projected differently it will just be letterboxed, as we will not be going to an anamorphic film out. I am now looking for a list of references of films that may have gone this route - or any other helpful info on this process. thanks

panavision off lougheed highway in burnaby

Ive always loved this painting that looks insanely like a photograph. Called "Betty" by Gerhard Richter

white balance is a great way to play around with the image and to learn basic colour lessons. Try white balancing off any colour just to see the effect. I also stick to the swatch book, but I have in a pinch white balanced to the sky to get a warmer look in the field - although obviously results vary with this trick.

Being a female might help you apprentice with Chris Doyle - I have seen him talk a few times and he was very interested in getting female cinematographers out there. He also collaborates (and possibly started out mentoring??) Kathy LI. I would agree Doyle, Savides, Lubezki not with us anymore - Sven Nykvist

As I kind of knew when i asked there is no easy solution to this problem. If they want to match those specs they are going to have to do some reworking to their budget to pay for a better camera package I guess. anyone have any thoughts on the hpx500? if we keep the hvx200 as b cam, how well do you think these 2 would cut together? thanks for the advice on the sony ex-1. I will do some more looking into it.

I am potentially shooting for a travel doc show that had their workflow all mapped out with the HVX200 and now are being told they have to deliver according to the Discovery HD channel tech specs. Apparently Discovery HD does not accept more then 15% HVX footage, and so now they are left trying to find a solution. One question that has come up is can it be upressed to a suitable HD standard? How do they know what the original format is? I would love to hear from anyone who may have some experience with this cheers

thanks for the feedback. I still have some questions in regards to the fabric or screen to use. I hear 3M make a good film for rear projection but this may be too pricey - anyone have other ideas? Im figuring I need to have the image be as bright as possible to have a chance at lighting the scene and getting enough exposure out of the screen

No one really seems to be biting on this one but those are my concerns too, except that I will be going out on that limb to try it and shoot on film. Will I need to shoot at 29.97 because the digital projector would have a frame rate of that? What kind of projectors are out there? I would love to hear some options

I am interested in finding out any information about rear screen projection. In particular I would love to find someone who has had some first hand experience with it, and with any luck maybe they live in Vancouver CA! I will be shooting a short on kodak 5222 and one scene will be a limo with rear projection background. From what I have looked into so far using a digital projector is probably the way to go. But I am wondering about exposure, distance the projector will need to be from the screen, what kind of projector , screen etc etc would be best. Do I need to be concerned with any flicker issues etc etc Would love to hear some first hand experience thanks

dont know if its my favourite but I remember liking "Tigerland"

I have a very last minute question: I am shooting tonight a night scene of an indie feature which all takes place in one day. We have already shot most of the film and there is no rain in the film - unfortunately today it is raining and doesnt look like its going to stop. We only have the actress in town for a couple days so they are pushing to shoot despite the rain. Does anyone have any experience with trying to hide the rain?? No backlight obviously? but do I even have a chance or will it be too obvious? The location is a road and the coverage includes a riding along beside a bike shot. Also I thought of building a 20x2o as a tarp but because we are low budget we will require the use of the streetlights that exist at the location. We are shooting on the hvx200 with 35mm lenses. I know rain doesnt always show up but also dont want to go out and try to shoot and then get a whole bunch of footage they cant use. anyone have any experience or thoughts about this??

sorry for the delay. Yeah I am basically asking about hardware to use or cheap tricks to rig a camera looking straight down. The shot is a body on the ground being dragged out of frame. Not extremely wide but a medium close up kinda thing. We have a video tripod (miller with removable head) but not alot else. Anyideas would be helpful

Hello all Wondering if anyone has any DIY ideas for doing a locked off birds eye view shot. I will be using the Panasonic HVX200 and at this point do not have a tripod with a removable head - but that is not entirely out of the picture. The shot does not have to be that wide, but most certainly has to be locked off. ideas?? Catherine